stage whispers...

The Holy Grail of Acting Lessons.John O’Hare has been Artistic Director and Head of Acting at the Actors College of Theatre and Television (ACTT) for the last six years. He says an ‘irreverent’ style of acting lessons at the college has produced surprising and gratifying results.John is also a professional actor and Co-artistic Director of O’Punksky‘s Theatre Company.Prior to joining ACTT John O’Hare was on a personal mission to create a comprehensive system for actor training that “can build a robust actor with security of process,” which he could effectively communicate to student actors.He found many useful exercises but nothing comprehensive until 1994, when “by providence” he was sharing a house with American acting guru Leonard Meenach, who at the time was Head of Acting at California State University. Meenach handed him the book ‘Irreverent Acting’ by Eric Morris“And I devoured it that night, cover to cover, realising I had found my Holy Grail. … That year I tested the process in practical situations in different colleges and universities across the country.”To summarise the approach – Eric Morris believes that it is virtually impossible for an actor to learn or execute a process of acting without first eliminating the blocks, tension, fears, inhibitions, and other obstacles to expression.“Working at ACTT I exposed the class, which included Firass Dirani, the actor famous for his role as John Ibrahim in Underbelly: the Golden Mile (and winner of two 2011 Logie Awards) to the Eric Morris system. The students were so enthusiastic that, when offered the role of Head of Acting and Artistic Director at ACTT, I developed it into a complete actor training process.”The ACTT System combines in-depth ‘instrument’ training based on the Morris system, with strong physicality and voice training.Students are taken through exercises that allow the actor to engage with the creative process more openly.“The age old acting adage is ‘talent is innate and cannot be taught’ and even The Method assumes this to some degree, but the Morris system assumes that everybody has talent and there is a clear process that anyone can use, if they have the desire and commitment to work. This process leads actors towards a ‘Being’ state, where one is affected by internal and external stimuli and responds to this by expressing true feelings, moment by moment. It allows the greatest number of personality facets and characteristics to be accessed by actors, as creative artists”.He also discovered that personal blocks to the creative process are often caused by “functioning above tension” and when Morris is combined with strong physical training, achieved through Meyerhold Biomechanics, students can flourish and become incredibly creative, strong and highly professional actors.Two ExercisesPersonal InventoryUnlike young children, most people as they grow up become dulled to the everyday stimuli around them. By concentrating on these smaller stimuli, actors tune in to all their senses. By repeatedly asking themselves how they feel about the things around them actors develop a comprehensive portfolio of feelings and build increased ability to respond-to and express all their impulses without making cognitive decisions, and then apply this to their craft.Intimate ShareEnsemble acting is achieved ultimately by trust. Major blocks to trust between actors are fears of being either too personal or too private, or even too visible. In an intimate share with a partner, actors verbalise their inner feelings about their lives, situations and circumstances. As they go deeper they build trust in each other and in themselves. They use this in their craft to become impulsively available to each other on a second-by-second basis.For details of Acting, Music Theatre, Stage Management or Technical Production training at ACTT visit the websiteactt.edu.au or call 02 9213 4500.Images: John O'Hare & Final Year students use Meyerhold physical training in a self-devised production ‘Shifting Points’

​The Gigli Concert produced by O'Punksky's started life as our second production in the Theatre Hydra season at the Old Fitzroy Hotel Theatre (The Old Fitz).Sean Doran - Perth Festival Director and Wendy Peacock - Performing Lines Director, wanted our production to tour to the Perth International Festival.With a lot of blood, sweat and tears and a lot of help from our friends, a special mention goes to John O'Hare senior whom constructed and bumped in our new set into the Dolphin Theatre at UWA. We went on to rave reviews and quickly became one of the critics hits of the Festival.

In 2014 Glen Terry artistic director of the Darlinghurst Theatre Company, invited O'Punksky's to pitch a show for their inaugural season at The Eternity Playhouse.The play he chose is our production of The Gigli Concert.

The Grimm's Tales:

October 2012 - "Grimm Tales" at the Sidetrack Theatre Marrickville.

ONCE UPON A TIME...

A note from the Director

Theatre can function only through the imagination.

Therefore our job as actors and directors is to constantly arouse and activate the imagination.

Children at play have been our inspiration whilst devising our show and we beg that you play along with us tonight.

Come back with us to that imaginative land you had as a child , playing at the bottom of the garden or in a dusty attic, being chased by monsters, hiding behind trees, doing dress up's and building a space ship out of a cardboard box.

Nikos Kazantzakis suggests that ideal teachers are those who use themselves as bridges over which they invite students to cross, then having facilitated their crossing, joyfully collapse, encouraging them to create bridges of their own.

Address Unknown Reviews.

Monday, 12 March 2012Address Unknown by Katherine Kressman Taylor

Known for their commitment to quality, contemporary theatre, Tamarama Rock Surfers once again don’t disappoint with their latest offering Address Unknown, currently playing at Bondi Pavillion Theatre.First published as a short story in 1938 and set in 1932, Address Unknown by Katherine Kressman Taylor spans San Francisco to Germany and chronicles the relationship between two German business partners via their letters to each other. German born Martin Schulse (Patrick Dickson) communicates details of his return to Europe and his reconnection with his homeland to Max Eisenstein (John O’Hare), a German Jew still residing in the USA. As details of Martin’s increasing sympathy for the National Socialists becomes evident via his written word, cracks begin to form in the once strong relationship between the two men.Through details of Martin’s sympathies for Germany’s new order and Max’s inability to comprehend the regime, the once shared ideologies of the two friends become increasingly different and the warmth between them changes to thinly concealed distrust and ultimately hate at dramatic speed. The underlying racist sentiment and the frightening human ability to inflict unspeakable harm on each other - even those we once called friends - are themes that are disturbingly relevant today.Both actors give convincing performances in this tightly directed two-hander and well-practiced accents further belief of the setting rather than becoming a focal point. John O’Hare’s conviction in his confusion and despair provides a riveting performance that leads to a feeling of shared frustration, confusion and ultimately a feeling of betrayal.The minimal and unobtrusive lighting is complemented by music of a similar feel and ensures that the focus remains on the dramaturgy. Barry French’s set design communicates the subtle differences between the two sides of the story, indicating both shared elements but ultimately different lives of the characters.Address Unknown raises uncomfortable questions about our ability to exact revenge and inflict harm on those we once adored. The parallels between Hilter’s ability to commit atrocities is reflected in both characters’ ability to do similar emotional harm to each other, albeit on a smaller scale. Although almost 75 years old, Address Unknown brings home frightening human truths that are just as relevant today as the period that plays out on stage.DIRECTOR – MOIRA BLUMENTHALSTARRING -PATRICK DICKSON & JOHN O’HAREVenue: The Bondi Pavilion TheatreDates: 2nd March – 24th March

The Slab boys by John Byrne

The Slab Boys was O'Punksky's third major stage production in Sydney and played for a four week sell out season at The Crossroads Theatre, Forbes St, Darlinghurst Sydney.Receiving rave reviews and feedback.The ensemble cast included: Gerry Lepkowski Denise RobertsKim LewisLysa KellyAndrew S GilbertRobert WilloxJames Hagan​John O'Hare

Little Malcolm and His Struggle against the eunuchs

Little Malcolm played at the old Crossroads Theatre. Forbes St, Darlinghirst, situated across the road from the old ABC Radio studios, the theatre was once used as a Radio Drama studio by the ABC and legend has it that Peter Finch made his debut on Radio at the Crossroads.During the 80' & 90's the theatre stood next door to St Peter's Church soup kitchen.The side alley that ran next to the theatre was a pick up beat for Transvestites, this made for interesting and colorful competition with actors onstage on busy nights.The Crossraods Theatre is now part of S.C.E.G.S..

western academy of performing arts - waapa

The Winters Tale by William Shakespeare, directed by Lisle Jones.

Niall Mather and John O'Hare in "A Winters Tale" by William Shaespeare, directed by Lisle Jones.

Paula Forrest and John O'Hare (Illy) in "Marginal Farm" by Alex Buzo,
Directed by Aarne Neeme.
Actor's Studio, now the Geoff Gibbs studio at WAAPA.

John O'Hare's Blog is a professional Acting and Director's Blog at ACTT in Sydney, with 25 years experience in Theatre, Film and T.V. ask John about auditions, acting problems, blocks, plays, scripts, texts, Eric Morris, NIDA, WAAPA